If caught off guard I might mutter something about Old School but having recently gone back to check some old school books, well, it isn't really, but its not Middle or New school either. Its just.. "what I do". So, I decided today to have a "look-see" in an attempt to trace the roots and to take a few shots of today's batch.
My first step was to look through several of my early wargaming books. There, right at the beginning of my wargaming life, was Don Featherstone's 'Battles With Model Soldiers' which taught me to glue a bunch of figures to a stick, something I still do most of the time, as well as teaching me what Jack Scruby called "sloppy undercoat, careful over coat", which is to say, slop on the main colour being more concerned with not missing any spots than with straying over the line. The next colour will take care of the edges when it is carefully applied to the smaller area.
Then I have a vague memory of a Heritage/Hinchliffe catalogue painting guide in the mid-70's which recommended an overall dark wash. I no longer have the catalogue and don't remember exactly what it recommended but it was shortly after my one trip to the UK where I'd had a chance to see Peter Gilder's Huns in action and it was the start of a long habit of burnt umber washes as the last step before varnishing.
But that's about it for wargaming influences. I can remember being impressed by my friend Eric Ritchie's painting 25mm ancients by a series of washes over white, but that's a technique that doesn't allow errors and I'm all about errors and do-overs, so I never got far with it. Similarly I tried black under coat and building up solid colours to build depth in the 80's but though I was happy enough with a few characters and a few units in both 15mm and 25mm, I found the process tedious and the end product still felt dark to me no matter how bright the highlights might be. I went back to my old ways.
|Sloppy main colour over white craft acrylic paint used as primer.|
I still have my battered copy of Peter Blum's "Model Soldier Manual" from the early 70's. Although I haven't looked at the booklet much in decades, that's because the basics were well absorbed. While I don't attempt the sort of detail that a teen age me attempted on 54's, and don't do as much shading and highlighting as I used to do even 10 years ago, the basics of my technique are all there, white undercoat, base colours then shading blended in .
The final influence was much more recent but just as important, Shep Paine's "Making and Painting Scale Figures". At least it feels very recent but it would appear that 25 or so years have slipped past since I picked up a copy. How did that happen?
Anyway, there was nothing really new about painting in it really, it was from his sculpting tips that I learned the most. He did have several observations on shading that went a level up from Peter Blum and he commented on the advantages of separate washes for different parts of Wargame figures instead of a single dark wash. As he points out it is a quick technique so doing several doesn't take up a lot more time but it really improves the look when wash style shading ties in with the colour being shaded. He was right. So, for this lot the flesh was shaded with a very thin flesh + burnt sienna, the coat with a red+burnt umber, etc. Not washes though, these craft paints don't run well enough without an additive so I use older techniques of applying a dark shade then adding a bit of water and running the edges out a bit to blend them in with the base.
|Shaded, glossed, and fallen in with the first batch of recruits.|
It sounds odd but I've been taught the same thing in drawing with a pencil. In other words, if you are looking at your brush tip, its too late, its already there and left paint behind. If you look a little bit ahead of the brush to where you want it to go and trust yourself, your hand and eye will guide the brush from where it is to where you want it to go leaving a line behind it, just where you wanted it and less halting and wavy that if you'd been looking at it. But you need to keep moving your focus point as the brush moves until you reach the end. I still catch myself NOT doing it and have to correct myself.
Never to late to learn and experiment.